From the outset, it’s clear that this arrangement is a tour-de-force. It retains the spirit of the original while expressing its nature in a way only a marimba can do. The virtuosic character of this etude presents a great challenge for the performer, and yet it is not merely a drill; rather, it is a delight to listen to and behold as an audience member.

Practically the entire range of the marimba is represented here. The original piece, for piano, is a workout for the left-hand accompaniment, while the right hand sings overtop. The right-hand part is reminiscent of a sung aria with orchestral accompaniment in the left. And, indeed, Pablo Blanco Cordero’s version is just that, but with added difficulty: four mallets instead of ten fingers.

The sound of this arrangement is remarkable. The original piano piece is quite stormy, with a dreamy interlude; it is passionate and nonstop. So too is this arrangement, which requires professional dexterity along with an artistic touch. Oftentimes it is a struggle to make these essential skills live alongside one another; perhaps that is the point of the etude: physical difficulty matched with musical sensitivity.

This piece would be perfect as a capstone performance for higher education or for a professional presentation. It pushes some of the physical and musical limitations that we have as marimbists. Kudos to Cordero for making a solo piece sound like a duet. Truly amazing. Those who are up for the challenge will be massively rewarded in their journey through this etude.